{"id":1990,"date":"2009-02-04T14:41:12","date_gmt":"2009-02-04T19:41:12","guid":{"rendered":""},"modified":"2009-02-05T09:20:22","modified_gmt":"2009-02-05T09:20:22","slug":"exploitive-black-rock-history-robed-choi","status":"publish","type":"post","link":"https:\/\/www.rocktownhall.com\/blogs\/exploitive-black-rock-history-robed-choi\/","title":{"rendered":"Exploitive Black Rock History Month Bemoans Employment of the African American Robed Choir"},"content":{"rendered":"
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Yesterday’s celebration of The Day the Music Died<\/a> took me through a range of emotions as I’m sure it did you. While we wind down from the festivities, I’d like to get back to a theme that I would like to work through with you over the course of the month, in between all our other fun and self-important rock discussion activities: Exploitive Black Rock History Month<\/strong><\/a>.<\/p>\n

As I said in my introduction<\/a> from a couple of days ago, I’d like us to do our best to explore and bemoan recurring, cynical, exploitive<\/em> uses of what are typically considered black people’s musico-cultural achievements to add color (my apologies for the unavoidable pun) and credibility to the performances of primarily white rock artists. I’d like to kick off this discussion with an examination of possibly the most egregious and overused of these cultural abuses: the employment of the African American robed choir<\/strong>.<\/p>\n

When did this practice begin? Can we blame it on Foreigner<\/strong>? Growing up, I don’t recall Elton John or David Bowie ever being backed by an African American robed choir, but sometime in the early ’90s it became commonplace.<\/p>\n

Those of you who know me probably are aware that I am not a proponent of cursing…
\n…but this practice fucking pisses me off<\/strong><\/em> more than any cheap, exploitive ploy ever used in rock.<\/p>\n